FRANK KIMBROUGH DREAMING OF MONK - HAFEZ - The New York City Jazz Record
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NOVEMBER 2018—ISSUE 199 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM
FRANK
KIMBROUGH
DREAMING OF MONK
HAFEZ ERI PETER JOE
MODIRZADEH YAMAMOTO LEITCH WILLIAMSManaging Editor:
Laurence Donohue-Greene
Editorial Director &
Production Manager:
Andrey Henkin
To Contact:
The New York City Jazz Record
66 Mt. Airy Road East NOVEMBER 2018—ISSUE 199
Croton-on-Hudson, NY 10520
United States
Phone/Fax: 212-568-9628 New York@Night 4
Laurence Donohue-Greene:
ldgreene@nycjazzrecord.com
Interview : hafez modirzadeh 6 by jim motavalli
Andrey Henkin:
ahenkin@nycjazzrecord.com
Artist Feature : eri yamamoto 7 by marc medwin
General Inquiries:
info@nycjazzrecord.com
On The Cover : frank kimbrough 8 by donald elfman
Advertising:
advertising@nycjazzrecord.com
Encore : peter leitch 10 by ken dryden
Calendar: Lest We Forget : joe williams 10 by ori dagan
calendar@nycjazzrecord.com
VOXNews: LAbel Spotlight : unseen worlds 11 by eric wendell
voxnews@nycjazzrecord.com
US Subscription rates: 12 issues, $40
VOXNEWS 11 by suzanne lorge
Canada Subscription rates: 12 issues, $45
International Subscription rates: 12 issues, $50
For subscription assistance, send check, cash or
money order to the address above
obituaries 12 by andrey henkin
13
or email info@nycjazzrecord.com
FESTIVAL REPORT
Staff Writers
14
Duck Baker, Stuart Broomer,
Robert Bush, Marco Cangiano, CD Reviews
Thomas Conrad, Ken Dryden,
Donald Elfman, Phil Freeman,
Kurt Gottschalk, Tom Greenland,
George Grella, Anders Griffen,
Miscellany 35
Tyran Grillo, Alex Henderson,
Robert Iannapollo, Matthew Kassel,
Mark Keresman, Marilyn Lester,
Event Calendar 36
Suzanne Lorge, Marc Medwin,
Jim Motavalli, Annie Murnighan,
Russ Musto, John Pietaro, Joel Roberts,
John Sharpe, Elliott Simon,
Andrew Vélez, Scott Yanow
Contributing Writers
Kevin Canfield, Pierre Crépon, As we look over the backgrounds of our big three features, we are moved at how jazz is, at its
Ori Dagan, George Kanzler, Ivana Ng, core, about diversity, communication and the positive effects of people coming together for a
Anna Steegmann, Eric Wendell
greater good. Pianist Frank Kimbrough (On The Cover), from the battleground state of North
Contributing Photographers Carolina, celebrates another of the state’s famed sons with Monk’s Dreams: The Complete
Ryan Collerd, Chris Drukker, Scott Friedlander Compositions of Thelonious Sphere Monk (Sunnyside), presented this month at Jazz
Peter Gannushkin, Radoslaw Kazmierczak Standard. Saxophonist Hafez Modirzadeh (Interview) has spent his career developing what he
Jimmy Katz, Craig Lovell, Marc Monaghan calls “Chromodal Discourse”, incorporating classical Iranian music with jazz; he performs at
Alan Nahigian, Marielle Solan The Jazz Gallery in four sets of duos. Pianist Eri Yamamoto (Artist Feature), born in Japan
Robert I. Sutherland-Cohen,
Adrien H. Tillmann but in NYC for the past 23 years, mixes the traditions of her native and adopted homes with
Goshu Ondo Suite presented at the Studios of the Paul Taylor Dance Company.
Fact-checker
Nate Dorward All this demonstrates that art is capable of bridging myriad cultural divides facing our society
today. But it takes more than buying a CD or attending a concert. Nov. 6th is the most crucial
election in a generation. If we have any hope of salvaging the United States’ moral position in
nycjazzrecord.com the world, then voting is no longer a luxury but a final stand against darker days.
On The Cover: Frank Kimbrough (photo by Chris Drukker / courtesy of the artist)
Corrections: In last month’s CD Reviews, the label for Ken Thomson’s Sextet is New Focus.
All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.
2 NOVEMBER 2018 | THE NEW YORK CITY JAZZ RECORDMICHEL CAMILO
TRIO
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NOVEMBER 20 - 25
VICENTE ARCHER & BILL STEWART
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NOVEMBER 13 - 18
SPECIAL SUNDAY JAZZ BRUNCH
$ 39.50 INCLUDES BRUNCH, MUSIC & COCKTAIL
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W W W. B LU E N OT E JA Z Z . CO M TWO SHOWS NIGHTLY 8PM & l0:30PM • FRIDAY & SATURDAY LATE NIGHTS: l2:30AM TELECHARGE.COM
TERMS, CONDITIONS AND RESTRICTIONS APPLYNEW YORK @ NIGHT
The release of Angel Band, guitarist Joel Harrison’s W acław Zimpel’s solo show at Joe’s Pub (Oct. 4th)
third CD in his Free Country series, was celebrated at started out as surprising, then frustrating yet ultimately
Cornelia Street Underground (Oct. 11th). Supported by moved into the intriguing and, finally, compelling.
"Ken Peplowski alto saxophonist Jon Irabagon, pianist Uri Caine, Zimpel, one of Poland’s most interesting younger
bassist Stephan Crump, drummer Brian Blade and musicians, whether working with his countrymen,
is a clarinetist and vocalist Everett Bradley, Harrison and Co. dug into an fellow Europeans or further-out-of-towners from
eclectic set of ‘standards’ drawn from the country and Chicago, was making his first NYC appearance as part
saxophonist cherished Appalachian repertoire, including fiddle tunes (“Lost of the Jazztopad Festival, a satellite edition of the
Indian”, Bill Monroe’s “Jerusalem Ridge”); gospel annual Wrocław event, which has been coming to New
for keeping the fire ballads (“We Shall Rise”, the Stanley Brothers’ “Angel York each October for the past few years with the
Band”, Vince Gill’s “Go Rest High On That Mountain”); regularity of Halloween decorations. During the first
bright in traditional classic country (Johnny Cash’s “Ring of Fire”, Willie 31-minute piece, Zimpel played his bass clarinet for
Nelson’s “Blue Eyes Crying in the Rain”, Jimmy Webb’s less than half the duration, spending the remainder
swing styles and the “Wichita Lineman”); Texas swing (Bob Wills’ “Osage manipulating various electronics to create a minimalist,
Stomp”); folk (“900 Miles”), even “America the pseudo-EDM sonic wash. It was not necessarily what
Great American Beautiful”. Not your usual jazz fare. Amazingly, your correspondent had expected or come to see but its
however, they made it their own—not by revival, rhythmic aspects in tandem with the bleak industrialism
Songbook." but by repurposing the originals’ soulful essence via did pass quickly. It was the second piece, “Lines”, the
arrangement, harmonization and/or rhythmic feel. title track of his first solo album, that justified and, to
Each musician lent his voice. Harrison supplied clean- an extent, explained that which came before it. Zimpel
toned leads, singing slides, plus a bit of scratchy wah- performed on the Khaen, a Laotian mouth organ and
wah. Irabagon wove knotty but architecturally sound the juxtaposition of acoustic music played on an
lines in and around the chords, toggling between ancient instrument against the earlier modernist
Johnny Hodges-ian romance and edgy skronk. Caine technological excursion was thought-provoking. The
added elements of urbane church-funk, bubbling the Khaen requires remarkable technical facility, of which
groove. Blade was a paradox of ardor and restraint. Zimpel had plenty, and stamina for extended circular
Bradley’s best tunes were “Ring of Fire” (reprised to breathing. The choral nature of the instrument was
even greater effect second set) and “Angel Band”, ideal for Zimpel’s solo vision, one that he ended, via
a complete revision of the original. —Tom Greenland electronics, as he had begun it. —Andrey Henkin
Peter Gannushkin/DOWNTOWNMUSIC.NET
© SCOTT FRIEDLANDER
November 1-4, 2018
The Great American Songbook with
Rossano Sportiello, piano, Chuck Redd, vibes, Joel Harrison @ Cornelia Street Underground Wacław Zimpel @ Joe’s Pub
Katie Thiroux, bass/vocals, and
Matt Witek, drums All-night classical music concerts are common in After the second of three pieces during a rare
India (Manhattan has one too), but only Brooklyn appearance by electronics master/keyboard player
Dizzy’s 10 Columbus Circle NYC holds a 24-hour concert. Initially broadcast live from Patrick Gleeson at The Cutting Room (Oct. 16th), the
212-581-3080 WKCR-FM in 2012, Ragas Live Festival is now a leader ‘apologized’: “Sorry if you got yourself into
ticketed event, held this year (Oct. 6th-7th) at Red something you weren’t prepared for.” Anyone who
Hook’s Pioneer Works, a combination performance knows Gleeson’s work with Herbie Hancock’s
space/museum/garden. Most of the 24 45-minute sets Mwandishi or its Eddie Henderson-led offshoot or
November 25, 2018 were Hindustani or Carnatic ragas performed in even his take on Gustav Holst’s The Planets shouldn’t
featuring 18 top NYC musicians traditional manner. However, thanks to Artistic have been surprised at what they were hearing. Rather,
Birdland 315 West 44th Street NYC Directors Sameer Gupta and Arun Ramamurthy’s they should have been surprised at how well it worked.
genre-defying ethos, there were significant exceptions, Gleeson, closing the show with Miles Davis’ “Spanish
6PM 212-258-9595
including Ramamurthy’s trio, Ganavya, House of Key” and explaining how all the music had been based
Waters, Ross Hammond Trio, Unstruck Sound, Falsa, on themes from Davis’ electric period, was joined by
Ritual Ensemble and Coltrane Raga Tribute. The most a pair of Davis alumni: saxophonist Sam Morrison
notable was probably Adam Rudolph’s Go: Organic (who was part of the trumpeter ’s mid ‘70s band),
Orchestra with Brooklyn Raga Massive (BRM), which, whose instrument was processed and effected heavily,
as the title suggests, combined the leader ’s usual and drummer Lenny White, who played on Bitches
coterie of rambunctious improvisers with Gupta, Brew and alongside Gleeson in Henderson’s band. The
Ramamurthy, bansuri player Jay Gandhi, sitar player template for the evening was fairly straightforward:
Neel Murgai and others from BRM. Remarkably, the multi-layered synthesizer and electronic foundations
arborsrecords.com sprawling 22-piece ensemble of strings, horns and over which Morrison flitted and frosted, sometimes
51 S. Main Ave, Suite 301 percussion maintained an admirable balance of sound, blending, other times piercing through while White
Clearwater, FL 33765 despite lack of microphones and large discrepancies in pounded tribal beats underneath, far from jazz swing
Call (727) 252 0123 or instrument volumes. In fact, it was the only time at the or even fusion bashing. If there were moments that
Toll Free (800) 299 1930 festival you could clearly distinguish the faint droning edged towards the repetitive—and frankly how could
of the omnipresent tanpura. Rudolph conducted three there not be in this format—the totality was often quite
DISTRIBUTED BY MVD
untitled charts, cuing soloists and ensemble passages, interesting, a swirling density, mechanized groove and
to forge an “organic” blend of Eastern and Northwestern melodic oscillation coming from the subdivision and
improvised musics. (TG) reconstitution of varied and various cells. (AH)
4 NOVEMBER 2018 | THE NEW YORK CITY JAZZ RECORDW H AT ’ S N E W S
“What’s up Blue Note,” Robert Glasper shouted out In this era of feminist fight-back, the obvious statement
to the packed crowd. “This is the third night [Oct. made by the banding of Myra Melford (piano), Nicole
4th]—42 more shows to go,” he continued, counting Mitchell (flute) and Joëlle Léandre (bass) may be one
down the number of sets remaining in his month-long of gender alone. In this period of reactionary
residency, which would find him playing a wide range divisiveness, jazz remains male-dominated as ever but 2018’s Black Friday Record Store Day is Nov. 23rd.
of music, from straightahead acoustic jazz to his new these powerful soloists, unified in the creation of
breed of funked-out fusion, with seven different units. something greater than the sum of themselves, cast a John and Alice Coltrane’s home in Dix Hills, Long
Taking his place at the center of a battery of keyboards— timeless lesson in equity and strength. Veterans all of Island, was named a National Treasure by the National
Fender Rhodes electric piano, Yamaha Motif 7 and the most expansive contemporary music, Melford, Trust for Historic Preservation, initiating a process of
Korg Kronos Music Workstation—he introduced his Mitchell and Léandre took the stage at Teatro LATEA protecting and preserving the residence.
two longtime bandmates, bass guitarist Derrick Hodge (Oct. 8th) without outlines of what was to come, guided
and drummer Chris Dave, engaging the pair with some only by the highest level of performance practice and Vocalist Sheila Jordan was presented with the Louis
entertaining repartée before settling in to the serious most communicative listening. Refreshingly, there Armstrong Educational Foundation’s Satchmo Award in
business of making music. “We’re gonna play some wasn’t any hogging of the spotlight or rushing toward a ceremony last month at Harlem’s Alhambra Ballroom
stuff and see where it takes us,” he told the audience a climax, but the Tiger Trio evoked enough energy, in recognition of her “important and lasting contributions
and then laid down a legato Fender Rhodes chordal expression and force to justify the title and embark on in the world of music and jazz education.” For more
underpinning on top of which he played a linear compelling musical forays. Melford appeared at the information, visit louisarmstrongfoundation.org.
melody on the Yamaha keyboard that mashed up his top of her game; perhaps hindered by the limitations of
own “Beautiful” and Radiohead’s “Packt Like Sardines an upright piano, her technical prowess nonetheless Finalists for the Sarah Vaughan International Jazz
In A Crushd Tin Box”. This kicked off a 95-minute shaped a spinning tapestry. Mitchell alternately draped Vocal Competition have been announced: Oleg
tripped-out ‘mixtape’ set full of surprising twists and gorgeous melodies over and cut searing lines into the Akkuratov, Gabrielle Cavassa, Olivia Chindamo, Toscha
turns. The trio engaged in a series of potent solo and atmosphere. And Léandre’s tireless pizzicato patterns, Comeaux and Laurin Talese. The finalists will compete
collective improvisations around fragmented melodic arco passages, vocalizations and humor brought it for the grand prize Nov. 18th as part of the NJPAC
lines, which included the leader ’s “Ah Yeah” and together. The Tiger Trio may be the counter to the James Moody Jazz Festival before a jury of Christian
“Calls”, Cyndi Lauper ’s “Time After Time”, Duke ignorance, impatience and greed in the nation’s daily McBride, Nnenna Freelon, Mary Ann Topper, Sheila
Ellington’s “In A Sentimental Mood” and Nirvana’s feed. “We’re totally tuned in to each other,” Melford Anderson and Jon Faddis. For more information, visit
“Smells Like Teen Spirit”, wrapping them around noted after the concert. But it was Mitchell’s comment
njpac.org/events/detail/sarah-vaughan-competition.
looped samples of powerful James Baldwin and Nina that best describes what propels this vital music: “It’s a
Simone orations. —Russ Musto different kind of listening.” —John Pietaro
During the annual general assembly of the European
Jazz Network, member organizations supported the
adoption of a new Manifesto on Gender Balance in Jazz
and Creative Music, beginning with a research period of
R.I. Sutherland-Cohen / jazzexpressions.org
“balance of men and women in the members’ respective
areas of work, festivals, concert series, participatory
projects, and within their staff and Boards.” For more
Adrien H. Tillmann - www.aht1985.com
information, visit europejazzbalance.net.
The Annual Louis Armstrong House Museum Gala
event will take place Nov. 28th at Capitale in Manhattan
with a silent auction and presentation of the Louie
Award to musician and philanthropist Herb Alpert. For
more information, visit louisarmstronghouse.org. In
related news, Ricky Ricciardi, Director of Research
Collections for the Louis Armstrong House Museum
and author of What a Wonderful World: The Magic of
Louis Armstrong’s Later Years, will give a talk on
Armstrong at Kumpferberg Center for the Arts at
Queens College Nov. 13th at 7 pm.
Robert Glasper Trio @ Blue Note Tiger Trio @ Teatro LATEA
Book release events for Sophisticated Giant: Life
“We are here tonight celebrating the work of iconic The Sunday afternoon sky burned bright over the and Legacy of Dexter Gordon, written by Gordon’s
women,” pianist Danilo Pérez announced to the sold- West Village, but an informed portion of those on widow Maxine Gordon and published by University of
out house at Jazz Standard (Oct. 11th), introducing Seventh Avenue South crowded readily into a certain California Press, will take place at Greenlight
a thematic element to the compelling music that the darkened basement of note (Oct. 7th). The draw was Bookstore (Nov. 1st), McNally Jackson (Nov. 13th)
collective quintet with saxophonist Chris Potter, the Angels Quartet and its masterful expansion of and 92nd Street Y (Dec. 18th).
trumpeter Avishai Cohen, bassist Larry Grenadier John Zorn’s 2004 Masada Project, an already expansive
and drummer Nate Smith would play that evening. fusion of Jewish musical traditions, free funk and new Drummer/composer William Hooker provided the
Opening with his own “Alternate Reality”, dedicated jazz. Throughout its compelling set, the quartet’s solo soundtrack to the latest edition of the video game
to author/activist Angela Davis, Pérez began with interplay was marked with a celebratory collegiality Grand Theft Auto.
a solo prelude that exhibited a striking originality, and laughter that belied the Village Vanguard’s
which, while rooted in tradition, swung on its own noir-like décor. The downtown sound was alive and Issue Project Room has named its 2019 Suzanne Fiol
terms. The piece was propelled by the sprawling well, wielding Klezmer-fueled collective improvisation, Curatorial Fellow: Benedict Nguyen. For more
rhythms of Grenadier and Smith and powerfully meter shifts, melodic minors, bouncing repetitions, information, visit issueprojectroom.org.
elevated by the impassioned blowing of Potter and hora accents and a bit of klangfarbenmelodie. Zorn’s
Cohen, each player feeding off the forward-moving artfully distressed alto saxophone wailed over the The Monterey Jazz Festival (see our report on the
improvising of the band to craft a narrative contour. exquisite leads of guitarist Julian Lage, who showed most recent edition on pg. 13) has named its 2019
Potter ’s “Lament For Jo Jo”, inspired by a character again why he’s first-call for so many varied situations. Artists-in-Residence: drummer Allison Miller and
from the Jesmyn Ward novel Sing, Unburied, Sing, The latter ’s utter command of his instrument and bassist Derrick Hodge. For more information, visit
melancholic in tone, continued the distinctively ability to tear into complex melodies as easily as he montereyjazzfestival.org
imaginative mood of the music. Plucked piano and dives into reckless abandon is all the more admirable
bass strings lent an exotic flavor to “Innovation Africa”, by his spy and surf guitar mastery. The rhythm section As part of the 2018 Johnny Pacheco Latin Music
Cohen’s homage to movement founder Sivan Ya’ari, of fluid bassist Jorge Roeder and drummer Kenny and Jazz Festival held Nov. 14th-16th at Lehman
trumpet and tenor blowing with harmonious Wollesen was on fire throughout. Wollesen can do College, there will be daytime performances from 10
dissonance over a gamboling beat. Two more by Pérez, anything behind a kit and here rolled out the hippest am-4 pm by student jazz and Latin jazz ensembles.
“And Still I Rise” and “Beloved”, the former a rhythmic bossa novas (with samba bottoms) and coolest For more information, visit lehman.edu/jazzfest/live-
dedication to poet Maya Angelou, the latter pensively free jazz. The sun was still shining at the end of the stream.php.
fêting author Toni Morrison, closed the set. Calls for an matinee show and the audience climbed up the Village
encore brought the band back for Cohen’s reading of Vanguard’s historic steps, still grooving on the leftover Submit news to info@nycjazzrecord.com
Israeli poet Zelda’s “Departure”. (RM) good vibes. (JP)
THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2018 5I NTERVIEW
hafez
took me a while to get used to Coltrane’s playing.
radoslaw kazmierczak / courtesy of the artist
TNYCJR: It’s possible as a listener today, to enjoy all
the different styles of jazz and have them all make total
sense. But the history is that most of the game-
changers—Charlie Parker, John Coltrane, Ornette
Coleman, Eric Dolphy and Miles Davis’ electric stuff—
were initially rejected by both fans and the critics.
modirzadeh
HM: I’ve taken my cue from the modernists, in the
sense that they were working something out. The
objective was to seek an understanding, growth,
enlightenment. The moment that really had a decisive
(CONTINUED ON PAGE 42)
by jim motavalli
Hafez Modirzadeh is Professor of Music and Co-Director of with the musicians coming in and out of the Bay Area.
the Jazz and World Music Studies program at San Francisco I could also take part in jam sessions with the regional
State University, the faculty of which he joined in 1998. He’s local legends who played great music and mentored
also a working jazz saxophonist, dedicated to exploring his younger people.
Iranian musical heritage and integrating it into his jazz When I’d been playing saxophone about five
playing. Modirzadeh’s albums as a leader include Post- years, I made a conscious decision to seek out Persian
Chromodal Out!, In Convergence Liberation and the musical forms. And that’s when I met my teacher,
Radif Suite with Amir ElSaffar (all on Pi Recordings). His Mahmoud Zoufonoun, a violinist who also played
compositions have been supported by two National traditional stringed instruments. He was involved in
Endowment for the Arts Fellowships (in 1989 and 1991), the heyday of Iranian radio in the ‘50s-60s, playing in
Other Minds and Djerassi Resident Artists Program. A famous orchestras. He moved here in 1976 and began Connections is the next step in the progression of the
2004-05 sabbatical took him to Andalusia, Spain on a teaching out of his home in the Bay Area. By the early music of Bill Stevens with its use of Impressionistic Jazz
modal harmony and European influenced electric Miles.
Fulbright scholarship, where he studied and lectured on ‘80s, when I was exploring my Persian heritage, he
flamenco music and its relation to jazz. He remains a became my teacher. He had an uncanny ability to Available at billstevensconnections.hearnow.com
determined internationalist and musical integrator. transcribe the Persian repertoire in Western notation.
Catch the Bill Stevens Songbook at Tomi Jazz
In 1983, I heard about the Third Stream program at
November 4th 8-11pm | 239 E. 53rd Street
The New York City Jazz Record: Is there a tradition of the New England Conservatory of Music and spent
either listening to or playing jazz in Iran? a semester there, studying the Lydian Chromatic
Concept with George Russell and the saxophone with
Hafez Modirzadeh: I wouldn’t say there’s any kind of Joe Allard. I also had a chance to meet Jimmy Giuffre
a scene or anything. There’s a current generation of and Joe Maneri. My interest was in putting together a
young artists—poets and wonderful musicians and concept for organizing tonal gravity between jazz
writers. It’s not necessarily aboveground—they have forms and Persian modal systems. George Russell’s
their circles and they’re thriving in their own ways. In concept was enough to open the doors for me to start
terms of jazz, I’ve found certain musicians there who doing that.
have a deep interest in it, but in the 20-plus years I’ve That was 1983 and it took me 20 years and it’s still
been going back and forth, since the mid ‘90s, I can’t say marinating. It didn’t happen overnight. Only in the
I’ve found an actual jazz scene where serious, creative last five years have I left the idea of systematically
music is thriving. working the thing through. By the time I made Post-
Back in the ‘60s, a multi-instrumentalist American Chromodal Out! for Pi Recordings [2012], I finally
named Lloyd Miller was living in Tehran. He was a felt I was on the other side of doing things on a
pioneer playing jazz on Iranian television or radio then. conscious, systematic level and could just play. But
Not only was he steeped in the study of Iranian that took 30 years.
traditional music, he could also play jazz piano. He
would have multicultural ensembles with Iranian TNYCJR: You’ve taught courses on John Coltrane’s
instruments and jazz instruments. My father, a music at San Francisco State and listening to your work
physician, played with him briefly in 1967, when we I got the impression you were primarily influenced by
were living in Salt Lake City. There is a public television his late period.
tape of my dad playing the tombak [a traditional Iranian
drum] in a jazz ensemble with Lloyd Miller. HM: When I discovered his music at 15 or 16, I’d go to
Again, that was just one individual. It doesn’t mean public library and listen to the records. Maybe I’d listen
there was a scene. I also have an old ticket from 1963 of to Coltrane’s Ballads and then go out and hear Sonny
the Duke Ellington Orchestra playing in Isfahan. You Stitt. It was the straightahead material I was listening to
had those types of folks coming through during that at first. My idols at the time were people like Stan Getz
time-period in Iran. The word “jazz” there has referred and Sonny Rollins. But at the library I was exposed to
more to what we might consider cabaret music, but everything and within an hour I might listen to anyone
maybe that’s changed now that people are more from Louis Armstrong to Eric Dolphy and Albert Ayler.
sophisticated. To really understand what was happening, you
had to get down to the common humanity that was
TNYCJR: Tell me about your own path to jazz. informing those different threads of music. All the
musical spirits from 1925-65, they were all being
HM: I was born in North Carolina in 1962 and grew up resurrected through the phonograph needle. I was
primarily in this country. I started playing at 12 basking in all these records and I took up my horn and
and I heard Charlie Parker records at 14. By the time was inspired by all of it. I’d try to figure out something
I was 16 I’d heard Dizzy Gillespie, Sonny Stitt, all the that Charlie Parker was doing, but then there’d be
survivors of the modern jazz era who were still going someone like Marion Brown on the other side. The first
strong in the late ‘70s. Dexter Gordon had come back to Coltrane I heard was Sun Ship, that’s true, but it was
this country, Johnny Griffin was here and Sonny Rollins too far out for me. Then I found Blue Train. At first I
was on the scene. So I grew up with all of that around, didn’t enjoy it, because I was used to Sonny Rollins. It
6 NOVEMBER 2018 | THE NEW YORK CITY JAZZ RECORDARTIST FE ATURE
eri
For more information, visit eriyamamoto.com. Yamamoto’s
Goshu Ondo Suite is at Studios of the Paul Taylor Dance
Company Nov. 17th-18th. Yamamoto’s trio is at Arthur’s
Tavern Thursdays-Saturdays. See Calendar and Regular
Engagements.
jimmy katz / courtesy of the artist
Recommended Listening:
yamamoto
• Eri Yamamoto—Colors (Jane Street, 2004)
• William Parker—Luc’s Lantern (Thirsty Ear, 2004)
• Eri Yamamoto—Duologue (AUM Fidelity, 2008)
• Whit Dickey—Emergence (Not Two, 2009)
• Eri Yamamoto Trio—The Next Page
(AUM Fidelity, 2011)
• Eri Yamamoto Trio—Life (AUM Fidelity, 2016)
by marc medwin CONCERTS AT IBEAM
November 3 and 4
“About a year ago, I was vacuuming and, with the She pauses, as if still internalizing the idea’s PIANO REQUIRED!
rhythm of the vacuuming motion, words started implications. “I wanted to create something that is 2-day festival featuring
coming out of my mouth and I began singing…” In a celebration, do you understand? I want it to be Alexis Marcelo, Mara Rosenbloom, Virg Dzurinko (Nov 3)
Marcel Proust’s Remembrance of Things Past, a feat of a celebration of the human being, of life, of welcoming. Kazzrie Jaxen, Carol Liebowitz, Cooper-Moore (Nov 4)
memory is triggered by something as seemingly I want it to be fun!” Her memories of a traditional sets at 8, 9, 10pm (solo/duo/trio)
Japanese folk melody, of ancestral reconnection and of $20 suggested/$30 for 2-day pass
insignificant as a morsel of cake soaked in a spoonful
of tea. For pianist Eri Yamamoto, the transformative its attendant experiences, gave her the larger canvas on Sunday, November 4 @ 9pm
moment occurred amid the mundanities of household which to paint. “Goshu is the old name of my CAROL LIEBOWITZ / NICK LYONS DUO
chores. She begins to sing, the rhythm of the folksy grandparents’ prefecture; it’s just outside of Kyoto and
Japanese melody immediately apparent. “That’s now, it’s called Shiga. I grew up with that song.” She
Goshu Ondo, a traditional Japanese melody,” she recounts the Buddhist Bon Festival week at the height Friday, November 16 @ 8pm
explains, her voice remarkably clear and resonant over of summer where in her childhood, to the propulsive CAROL LIEBOWITZ / BILL PAYNE / MARK WEBER
our Skype connection. “It lasts about one minute, but I soundtrack of relatives’ voices in song and the taiko New CD release Spiderwebmandala on Line Art Records
made a 50-minute suite out of it,” quips Yamamoto. drum, she joined in the ceremony reconnecting with $15 suggested
Yamamoto recounts her experiences in bursts of those departed. “We believe that the souls of our
sublimated optimism. Her speech is often considered, ancestors return and we sing and circle dance to IBEAM / 168 Seventh Street, Bklyn / ibeambrooklyn.com
until she suddenly dives headlong into an idiomatic welcome them. The ceremony goes on all night.”
expression that somehow changes the color of a The music, which will be performed by Choral
sentence. “There’s a story about that,” she’ll suddenly Chameleon, a 52-strong chorus that will also dance at
interject. She is contemplative without sacrificing the the event, and for Yamamoto’s trio, explores what
innocent spontaneity of word transforming into action. could be heard as the symbolic implications of the
Each note and chord she plays is similarly autonomous circle. “Of course, in one way, it’s about community,
but contextually inflected, a sudden caution-to-the- which is especially important in these difficult times,
wind exuberance lifting certain phrases above the don’t you think? I really like the idea of having so
individual elements they contain, her voice and many people in one space, creating music. I find it
pianism capturing a kind of movement in stasis that beautiful.” She is quick to point out that this evening
also imbues her compositions. homage to cultural exchange is not cast in anything so
“I actually began composing at eight,” she remarks academic as a theme and variations. “I really try to
offhandedly, “as you would keep a diary. I could write stick as close to the melody as possible throughout all
music that came from my emotions and even if I played nine movements.” Her elation concerning a rehearsal
it for family and close friends, they wouldn’t be able to of the previous day is palpable. “You know, I’ve usually
figure out the emotion behind it,” she says. Her interest written for piano and writing for a chorus, well, that’s
in melody predates even these early efforts. “I was very different, getting the voicings right, can you
playing piano at three. I just loved the sound! Each note imagine? I’d try to sing it and then I’d realize that some
gave me a color to expand my palette!” These charming of this just doesn’t work, but now I’m hearing them do
reflections encapsulate a life of hard work and fortunate it! It’s gonna be OK! They’re really singing it!”
circumstance: her experiences attending and later If a demo of the final movement is indicative of the
teaching in the Japanese school system; move to New whole, the blues- and gospel-drenched music, anchored
York in 1995; chance but prophetic meetings with by funky pianism awash in choral homophony, also
pianist Tommy Flanagan and bassist Reggie Workman; references Yamamoto’s own compositional biography.
and education at The New School, which birthed the Its semi-cyclic repetitions, groove-permeated sustains
band that, for the past 12 years, has included bassist and circling harmonies harken back to tracks such as
David Ambrosio and drummer Ikuo Takeuchi. In a 2013’s subtly rapturous “Memory Dance” from the
climate where groups disband regularly, her trio’s trio’s Firefly, but the new music is more overtly
20-year weekend residency at Greenwich Village’s vigorous, evoking an even earlier track such as 2006’s
Arthur’s Tavern and its long string of successful “Hot Coffee”, one of the first to feature that delicately
recordings for AUM Fidelity speaks to a special group incendiary combination of Ambrosio and Takeuchi,
relationship and to the work ethic that has led to her a treasure-trove of vibrantly shifting colors and timbral
robust schedule of concerts, international masterclasses intricacies in perfect sympathy with every note
and, ultimately, to her most ambitious project to date. Yamamoto plays. The pianist provides few details
Yamamoto’s enthusiasm is quietly infectious as concerning the other movements of her new piece,
she describes the impetus for her large-scale preferring the event to unfold with the spontaneous
composition, to be performed this month at the Studios inexorability of her music and the path that brought
of the Paul Taylor Dance Company. “I’ve absolutely her to it, with similar embracing of the new in the
loved the musical associations I’ve made since I moved service of a constant return to roots. Amid the dance
to New York. I get to play with wonderful people in all and song converging to celebrate her musical journey
kinds of places, often with my trio but also in other thus far, as the trio’s long-fostered improvisation is
combinations. Over the last couple years, I have felt complemented by a new compositional freedom,
the desire to put my energies into something bigger…” another circle will be complete. v
THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2018 7ON THE COVER
Marielle Solan / COURTESY OF the artist
frank kimbrough
DREAMING OF MONK
by donald elfman
The very notion of recording the complete Kimbrough sees and hears music is his approach to each, 34 tunes in each three days. And then I came back
compositions of one of the vital figures in jazz history— rehearsal. He notes, “Certainly with structured music and did two solo piano tracks to complete the project.”
pianist Thelonious Monk—seems, no is, an such as Maria Schneider ’s or even some of Ben Monk was born in 1917 and his music and approach
ambitious and bold undertaking. For one it’s rarely Allison’s, where the music is difficult or very to playing were unique even as they were born of the
been attempted. For another it’s not the easiest of composed, I know the need for rehearsal. But when I’m worlds of swing and bebop. Kimbrough had a
repertoire to play with the proper combination of playing in a smaller, simpler setting, I basically don’t determination to get the tunes right. Says Kimbrough,
understanding and interpretation, as shown by how rehearse. If I don’t touch the instrument until I’m “I wanted to play the music, not AT the music, so
relatively little of it has become part of the standard actually working, the act of playing feels spontaneous I even adapted some of the way I usually play. I usually
jazz canon. And the sheer number of compositions— and, somehow, more important.” use a lot of pedal and more impressionistic harmony,
70 in all—itself is daunting. And so to the project at hand. How did such a vast but that wasn’t going to work for these tunes.”
Pianist Frank Kimbrough and his brilliant quartet endeavor come to be? In the summer of 2017 Kimbrough One of the amazing things about this collection is
were up to the challenge and the result, Monk’s Dreams: was booked to participate in a series celebrating the inclusion of Monk tunes that just don’t get played
The Complete Compositions of Thelonious Sphere Monk Monk’s centennial at New York’s Jazz Standard. (In that often or have not been recorded by Monk at all.
(Sunnyside), sparkles with authenticity, dedication and 1982, he had participated in the memorial for Monk at “Two Timer”, for example, is an attractive line that first
love. “The guys in this group have all been around for Saint Peter ’s Church in New York.) Kimbrough called appeared as “Five Will Get You Ten” on the 1961 Jackie
many years playing many of these tunes,” says the leader. reed player Scott Robinson, bassist Rufus Reid and McLean Blue Note album A Fickle Sonance, with
“What that means ultimately is that we could play these drummer Billy Drummond and the band played 15 composer credit given, alas, to the pianist on the set,
great tunes as they were written and still reveal them to tunes in 2 sets. In the audience was a longtime friend, Sonny Clark. “Blue Hawk” was only recorded once, as
be the great vehicles for improvisation that they are.” Mait Jones, and he became, says Kimbrough, the a 1959 solo piano performance on Riverside. “Humph”
Kimbrough has only recently entered his 60s, but it “angel” of the project. (Jones is a celebrated chemistry comes from a 1947 Blue Note session. “A Merrier
seems he’s been a major jazz presence forever. He grew professor at Princeton.) “Mait is a great friend and a Christmas” was a tune that Monk wrote for his family
up in North Carolina and says, “My first memories are longtime jazz fan and, with the help of another jazz but never recorded. “Monk’s Point” comes from the
of the piano. I don’t have any memory of not playing. ‘angel’, Dorothy Lieberman, made the notion of 1968 Columbia album Monk’s Blues with a big band
My mother played, my grandmother played and, well, recording all of Monk’s tunes a possibility. arranged and conducted by Oliver Nelson. And
pretty soon I played. I started at age three or four. And I wouldn’t or couldn’t have taken this on myself, but “Hornin’ In”comes from 1952’s Genius of Modern Music,
got my first formal lessons at age seven.” From early with their funding and complete dedication, we were Volume Two on Blue Note. And there are other Monk
classically-based lessons, Kimbrough then had a wide able to go forward.” tunes known to musicians and some fans, but are not
variety of musical experience—gospel, stage band, Kimbrough then approached François Zalacain of of the everyday variety. This is a vast compendium of
choral—but at 15 he heard Bill Evans on the radio and Sunnyside Records. In April of 2018, the band had music unlike any in the jazz repertoire. Robinson has
it changed his life. It set him on the road to a career in a chance to play 30 more of Monk’s tunes at Jazz at said that Monk’s world is one that is “durable and
jazz and though it was sometimes bumpy he never got Kitano and soon the “crazy” idea had a shape after lasting” with a “rare combination of freewheeling
off. Starting in North Carolina, it has taken him to Kimbrough went to his old friend engineer Matt creativity and meticulous attention to detail.” Both
Washington, DC, where he met singer Shirley Horn Balitsaris with the notion to record the project at Reid and Drummond suggest that the music is also a
(who became a friend and kind of mentor), to Tempe, Balitsaris’ Maggie’s Farm studio in Bucks County, mixture of simple and complex and creates an
Arizona, where he met and was influenced by drummer Pennsylvania. “It was Matt’s idea to do the recording environment where, if one pays attention to the tunes,
Lewis Nash, and ultimately to New York, but also at his studio and also that we’d plan each day’s output there emerges a clear precision that makes the music
to many spots around the world. He’s played in an and know beforehand what the sequence of the tunes ever appealing to the player.
extraordinary variety of settings: Maria Schneider on the disc would be. Matt has a long experience of “This ended up being a labor of love,” says
Orchestra; the groups of singers such as Kendra Shank, recording and his input was crucial.” Kimbrough. “The recording environment, the
Diane Hubka, Katie Bull and Maryanne de Prophetis The choice of musicians was a natural one for musicians involved, the technical attention—all
(Kimbrough’s wife); as part of a group that he helped Kimbrough. He had first met Robinson in DC and later created a setting that helped bring out the brilliance of
form, The Jazz Composers Collective (with such the two of them ended up playing in Schneider ’s the music. Many of the tunes were done in one take,
cohorts as bassist Ben Allison, trumpeter Ron Horton Orchestra. “Scott is amazing. He provides an amazing the others involved mostly two takes and, in just a few
and saxophonist Ted Nash); and, of course, leading his diversity of color and sound because he plays all these cases, three. That made this both a joy to be a part of as
own groups including such luminaries as Jay Anderson, instruments. Saxophones, bass clarinets, trumpet and well as the most extraordinary learning experience.” v
Paul Motian, Joe Locke, Steve Wilson and the list goes then there‘s an instrument like the sarrusophone,
on. Kimbrough remains a busy presence on the New which has just an amazing depth! And Scott seems to For more information, visit home.earthlink.net/ ~fkimbrough.
York jazz scene. He has recently taken up playing with have a different personality on each.” Reid played with Kimbrough’s Monk Project is at Jazz Standard Nov.
the saxophone great Don Menza and continues to teach many of the giants of modern jazz including Dexter 27th-28th. See Calendar.
at Juilliard. “It’s easy to be pigeonholed,” he says, “but Gordon, Jack DeJohnette and Andrew Hill and
I like to remain open to different things.” Kimbrough Kimbrough first worked with him in a group led by Recommended Listening:
has made a wide range of recordings both as a leader Nash. And the pianist met Drummond at a recording • Frank Kimbrough Trio—Lonely Woman
and as a vital sideman. session of saxophonist Rich Perry and they became (Mapleshade, 1988)
Crucial in some fashion to the Monk project was colleagues teaching at Juilliard. All contributed vitally • Frank Kimbrough—Chant (Igmod, 1992/1997)
Kimbrough’s role as co-leader with Allison of the to the project and have written brief appreciations for • Herbie Nichols Project—Love is Proximity
Herbie Nichols Project dedicated to the music of this the liner notes as to what it was to be part of this (Soul Note, 1995-96)
important, overlooked contemporary of Monk’s. monumental effort. • Frank Kimbrough—Air (Solo Piano) (Palmetto, 2003/2007)
Kimbrough has said that he believes composition, even “This combination of musicians is ideal for this • Frank Kimbrough—Solstice (Pirouet, 2016)
at its most thorny and complex, is a present from the music. They’re consummate musicians, they always • Frank Kimbrough—Monk’s Dreams: The Complete
author, offering paths of improvisation. work selflessly with the music first and foremost. The Compositions of Thelonious Sphere Monk
Maybe the most vital element in the way quartet recorded in two different sessions of three days (Sunnyside, 2018)
8 NOVEMBER 2018 | THE NEW YORK CITY JAZZ RECORDENCORE
peter
wrote liner notes for his CDs and those by other artists, some of the great soloists we’ve got in this band.
in addition to honing skills as a photographer. Guitarist Phil Robson is from the U.K.. I am really
While illness curtailed his performing career, once knocked out with his playing. He’s much better known
leitch
his recovery was underway, Leitch found that his in Europe. I consider myself fortunate to have Steve
interest in music was still strong. “At my age [74], Wilson in this band, he’s been one of my favorite alto
I considered myself retired from the music business. players for years. We’ve played duets together a few
I couldn’t play anymore. But I couldn’t get rid of this times.” Trumpeter Bill Mobley, a noted composer/
arranger himself and a part of Leitch’s band, said, “I’m
by ken dryden
urge to be involved in music and it seemed to me that
the only way I could do it was to start writing. I wrote looking forward to Peter’s upcoming concert. His
a few things and wanted to hear what they sounded original melodies range from hauntingly beautiful to
After several decades of building an impressive like, set up a rehearsal and it went from there. Suddenly classically inventive to playful. His orchestration also
discography as a guitarist, leader and composer, Peter I found myself being a bandleader, which I didn’t has a wide range of colors and textures, from dense and
Leitch nearly lost his life in a battle with lung cancer expect to happen.” The result is his New Life Orchestra. dissonant to light, airy and contrapuntal. His stuff is
diagnosed five years ago. Now in remission, Leitch is Leitch’s composition process may take several fun and challenging for the musician but more fun for
upbeat and productive, though he no longer can play different paths. “I can find a fragment, melodic line or the listener to take all this in.” Another member, pianist
the guitar. “I’ve been off chemo for almost three years, bass line. It might not go anywhere and sit, then Peter Zak, shared his thoughts: “The Peter Leitch band
but I’m still experiencing after-effects. I didn’t have suddenly I’ll go back to it and develop it into something.. has been a good experience. The music is unique and
surgery, but a lot of chemo and radiation. They think Other times a piece will seem to write itself in a couple has a lot of space in it for soloing and interaction and
that the radiation damaged the nerve plexus and of hours. With this bigger band, I’ve taken a couple of always swings or grooves. Peter’s orchestrations for a
prevented me from using my left arm and playing the earlier pieces that I composed for record dates with medium-sized group have a personal stamp on them, in
guitar, though my fingers still work. I’m still doing smaller groups and expanded the arrangement for this particular with choice of instruments, such as multiple
physical therapy, which is progressing very slowly.” 12-piece band. Some are new, specifically written for flutes combined with guitar.”
A native of Montréal, Leitch came to jazz in several this band. Most of it is original music, though I have Leitch has been pleased with the band’s progress
ways. “I became exposed to the music through radio taken a couple of standard pieces, for example ‘‘Round and is looking forward to their official live debut this
and television, then there were several jazz clubs in the Midnight’, which was the first piece I arranged for this month. He is proud of the hard work of his musicians.
early ‘60s bringing in a lot of people from New York. group, because I thought I would start with a piece of “I’m hoping that this band can get recorded, but I’m
I got to hear most of the great players: Miles, Monk and music that I knew really well.” not holding my breath with the state of the music
Coltrane. It was inspiring to hear them live. I didn’t One of things that sets Leitch’s ensemble apart business as it is now. I have some rough home
have formal instruction in school, but I took private from groups of similar size is the instrumentation. recordings of rehearsals, which I’m using to rip apart
lessons with guitar teachers. I hung out with several “Some of the pieces were written with recording in and rewrite things. We have about 15 pieces of music
jazz guitarists and they taught me. I had all of these mind because it is a different setup than the standard so far and we’re trying to concentrate on honing these
great teachers on records: Wes Montgomery, Jim Hall big band. I’m using some combinations of instruments rather than keep adding new material.” v
and Kenny Burrell. I came down to New York one time that aren’t necessarily self-balancing like sax, trumpet
to have a lesson with Jim Hall. I spent the afternoon and trombone sections. I’m using mixed combinations For more information, visit peterleitch.com. Leitch’s New Life
with him and he gave me enough to work on and think of instruments in the orchestrations, which gives it Orchestra is at The 75 Club Nov. 30th-Dec. 1st. See Calendar.
about for years to come.” a different sound. Being a guitarist, I started writing
Moving to New York City, Leitch found regular several pieces that were guitar features, because I don’t Recommended Listening:
work, including stints with several major artists. He hear a lot of that kind of writing for guitar, in terms of • Al Grey/Jimmy Forrest—O.D. (Out ‘Dere)
played alongside saxophonist Jed Levy, who became a integrating it into a larger ensemble with horns. Since (Grey Forrest, 1980)
good friend and frequent collaborator; they played I’m no longer an improvising instrumentalist, I’ve been • Peter Leitch—Red Zone (Reservoir, 1984-85, 1988)
together in Brother Jack McDuff’s band and Jaki Byard’s thinking about music in a different way, in terms of • Peter Leitch—On A Misty Night (Criss Cross, 1986)
Apollo Stompers. He began recording frequently as a thinking orchestrally. I do miss the in-the-moment • Peter Leitch/John Hicks—Duality (Reservoir, 1994)
leader in the ‘80s, first for Criss Cross then Concord aspect of being an improvising musician. I have to • Peter Leitch—Colours & Dimensions (Reservoir, 1995)
Jazz and Reservoir throughout the ‘90s. Leitch also remember that when writing and leave a lot of space for • Peter Leitch—Self-Portrait (Jazz House, 2006)
LEST WE F ORGE T
joe
would take young Joe to Grant Park where the Chicago albums in his career for RCA Victor, Verve, Solid State,
symphony performed with classical singers such as Savoy, Blue Note and Fantasy, winning a Grammy in
Lily Pons and Lawrence Tibbett. One of Williams’ 1984 for Nothin’ But The Blues (Delos) and remained an
williams
earliest formative influences was Ethel Waters, whose active performer in excellent voice for most of his life.
crisp diction and emotive style inspired his own. As He died on Mar. 29th, 1999 at 80 in Las Vegas after
a teen he sang at weddings and funerals with a gospel escaping a hospital where he was being treated for
quartet he formed called The Jubilee Boys. Williams respiratory difficulties.
Next month will mark the centenary of Williams
by ori dagan
had no dreams of fortune or stardom, pursuing music
purely for attaining joy. and he is still winning fans. Beyond being an excellent
By the late ‘30s, Williams was cutting his teeth musician, he was a brilliant entertainer who sang with
Smack dab in the middle between the kingdoms of singing with trumpeter Johnny Long’s orchestra. deep respect: not only for the songwriter, the musicians
blues and jazz, Joe Williams was undeniably regal. On Around this time he saw Big Joe Turner at a breakfast and the audience, but for the very act of music-making.
the surface, his bass-baritone is an instrument of dance and became forever enchanted by the blues. He “It is not something we do,” he would say. “It’s really
immense power and astonishing range; its uniquely later joined clarinetist Jimmie Noone’s band, then more something that comes through us.” v
blue-colored tone—somewhere between cobalt and violinist Erskine Tate’s jazz orchestra, toured with
sapphire—alone could leave a listener breathless. Yet Coleman Hawkins and briefly sang opposite Dinah A tribute to Williams by the Jazz at Lincoln Center
what made his art truly shine was the unaffected Washington with Lionel Hampton, never quite catching Orchestra with guest Milton Suggs is at Rose Theater Nov.
sophistication and ample heart with which the singer on but not giving up either. It was not an easy time: 3rd. See Calendar.
sincerely graced each selection. And man, did he ever financial struggles forced him to work as a door-to-
swing! door cosmetics salesman; two marriages failed; and, in Recommended Listening:
Long after the heyday of big bands, in 1956 1947, a nervous breakdown resulted in hospitalization. • Count Basie & Joe Williams—Count Basie Swings,
Williams hit the big time with the Count Basie But he kept singing. Joe Williams Sings (Clef-Verve, 1955)
Orchestra when their recording of “Everyday I Have Recorded in 1955, the album Count Basie Swings, • Joe Williams—Me and the Blues (RCA, 1963)
the Blues” became a smash and he was declared an Joe Williams Sings catapulted the singer to international • Joe Williams—Presenting Joe Williams and the
“overnight success”. Thank you Norman Granz—in stardom and gave Basie his first hit in 15 years. Thad Jones-Mel Lewis Jazz Orchestra (Blue Note, 1966)
reality Williams had already been singing for 20 years. Williams stayed with the Basie Orchestra for seven • Joe Williams—Live (Fantasy-OJC, 1973)
He was born Joseph Goreed in Cordele, Georgia on years, leaving to pursue solo work in 1961. He later • Joe Williams—Nothin’ But The Blues (Delos, 1983)
Dec. 12th, 1918. His father left and the family relocated collaborated with George Shearing, Cannonball • Joe Williams/Count Basie Orchestra—
to Chicago. His mother, who played piano at home, Adderley and Mel Lewis/Thad Jones. He recorded 45 Live at Orchestra Hall, Detroit (Telarc, 1992)
10 NOVEMBER 2018 | THE NEW YORK CITY JAZZ RECORDL ABEL SPOTLIGHT
unseen worlds
“It became clear that avant garde music happened to funk/sonic tone poem record that finds precisely zero
be a personal taste. Although I enjoy all kinds of music, company in any genre I can think of.” Tyranny’s 2012
I find that when I’m left alone avant garde music is release Detours was the first album of wholly original
music that Unseen Worlds has released. The biggest
by eric wendell
what I tend to like to explore the most.”
From appreciator/fan to starting a record label is challenge that McCutchon faced with Detours was
quite a leap in growth and development. The idea of usurping control of the final output, stating the
“O ur motto is groundbreaking, yet accessible, avant starting a label was initially not McCutchon’s idea, but difference between reissuing records as opposed to
garde music,” says Tommy McCutchon, founder of the rather that of his friend Neil Fauerso. The genesis of releasing new material being “letting go of the control
New York-based label Unseen Worlds. Since its the name stemmed from when McCutchon “first came of what exact sounds would be coming out through
inception in 2006, Unseen Worlds has eschewed the across the word-pairing Unseen Worlds through the Unseen Worlds, which is pretty standard for most
notion of genre and focuses instead on the idea of Laurie Spiegel CD of the same name. In the liner notes labels but was new for me.” Detours was met with
avant garde music that traverses categorization in a she explains how she discovered the term from similar successes with contributor Clifford Allen in his
way that is agreeable yet dynamic in execution. a passage in the [ancient Chinese text] I Ching. I felt review for Tinytapes.com stating, “at its heart, Detours
The output of Unseen Worlds displays a who’s a shared sense that, though each person through their is an album of solo piano meditations, rhapsodic,
who of underground musicians never quite at the unique life experiences starts to build a worldview that elegant and deeply tied to the performer ’s inventive
forefront of the avant garde movement but noteworthy is ultimately never knowable, certain kinds of music hands and mind.”
and important nonetheless. Whether it is the pianistic hold you in a place that builds an empathy that is While over ten years in, McCutchon still finds that
minimalism of Ukrainian composer Lubomyr Melnyk, world-opening. It was doubly perfect since the music the growing pains of running a label are still there.
off-kilter jazz flow of singer Maria Monti or computer I wanted to release I felt was under-recognized.” “Perhaps the best lesson I’ve learned is that when you
music tapestry of Laurie Spiegel, Unseen Worlds’ Unseen World’s first release was pianist/composer find yourself digging a hole, the best way to get out is
music output proves that the avant garde is not a genre “Blue” Gene Tyranny’s debut Out of the Blue. Originally to stop digging. Don’t keep digging as if it will help
in and of itself but rather an important spice in the released on the label Lonely Music in 1975, the album you get to the other side. Patience is the best tool for
forward-thinking approach of all music. is a rich tapestry of chamber pop, classical and rock climbing out,” McCutchon stated.
While McCutchon himself is neither a musician music swishes and sways through a haze of ‘70s pop While McCutchon does not think there has been a
nor did he grow up in a musical household, he was sonic landscapes. McCutchon stated, “It’s a perfect particular release that has been the shining example of
an appreciator of music. As a young man in Corpus record in my eyes and really set a high bar for what Unseen Worlds can do, McCutchon believes that
Christi, TX, McCutchon was not exposed to music that everything that came after it, which I’ve tried to stay others have taken note of Unseen Worlds’ style of
wasn’t part of the car-radio culture that Texas had to true to. I was extremely lucky to have Blue be the first releasing records. “I definitely felt like there was a
offer at the time. At 18, McCutchon began to make artist I worked with on the label. He truly has the most well-established proliferation of labels and releases
friends who had a more outside-the-box taste in music, kind, generous and brilliant soul.” that were kind of directly or indirectly touching on the
which so happened to coincide with a job he had at the Critics were quick to point out the musical juggling approach I started with and it felt like ‘mission
audio-visual library at the college he was attending. It that Tyranny was able to achieve on the album with accomplished’ in a sense, because the conversation had
was the music that challenged regular convention that Pitchfork contributor Dominique Leone stating in his shifted more in our favor.”
McCutchon gravitated towards. McCutchon states, review that the album is, “an eclectic pop/country/ (CONTINUED ON PAGE 42)
Out of the Blue Fifteen Saxophones Love & Peace El Bestiario The Expanding Universe
“Blue” Gene Tyranny Dickie Landry Girma Yifrashewa Maria Monti Laurie Spiegel
VOX NEWS
six degrees of joni
Mitchell’s work as the inspiration for her own career in Joni Mitchell song, but in interviews she cites the
jazz, is the most recent singer to launch a Mitchell singer/songwriter ’s influence on her musicianship
tribute disc. The album, Full Circle: The Music of Joni and she did perform Mitchell’s “All I Want” with
pianist Fred Hersch in performance. And like Mitchell,
by suzanne lorge
Mitchell (Whaling City Sound) tackles a dozen of
Mitchell’s better-known tunes (“Circle Game”, “Big Salvant is an expressionistic painter of considerable
Yellow Taxi”, “A Case Of You”); Mann’s fresh ability who lends her visual artistry to her album
Canadian-born singer/songwriter Joni Mitchell, arrangements and expert phrasing provide a new covers. Beyond this, Salvant brings a depth of feeling
ninth on Rolling Stone’s list of The 100 Greatest context for the material, even as the singer references to her work recalling Mitchell’s own. On her new
Songwriters of All Time, turns 75 this month. Though Mitchell’s own unique vocal sound. With this album release, The Window (Mack Avenue), for example,
best known as a ‘70s folk-pop musician, Mitchell’s jazz Mann joins the ranks of singers offering compelling, Salvant reaches deep into her gut in her renderings of
influences run deep: she’s collaborated with the likes definitive interpretations of The Mitchell Songbook. Leonard Bernstein’s “Somewhere” and Al Alberts’
of Jaco Pastorius, Wayne Shorter, Herbie Hancock, Madeleine Peyroux, who performed Mitchell’s “Tell Me Why”. She misses nary a step on this
Pat Metheny and, most notably, Charles Mingus. Jazz classic “River” on her charting album Half The Perfect unabashedly open and moving album, recorded live at
singers love interpreting Joni Mitchell material because World (Rounder), again joins with long-time producer Village Vanguard with piano (Sullivan Fortner) only.
of this jazz influence—the innately singable melodies, Larry Klein (Mitchell’s former husband, bassist and Also on this record Salvant covers “The Peacocks”,
the deeply colored harmonies, the poetic lyrics. producer), on her celebrated new release Anthem the haunting tune by Jimmy Rowles with lyrics added
To understand just how beloved Mitchell is among (Decca). Like Mitchell, Peyroux wields the pen like a later by British singer Norma Winstone (who recorded
jazz singers, here’s a quick (unofficial and incomplete) scalpel in dissecting the human psyche; each of the 10 Mitchell’s “Two Grey Rooms” on her 2014 album for
list of those who’ve recorded Mitchell songs: Karrin originals on the disc, co-written with her impressive Basho Records, Westerly). Winstone has her own 2018
Allyson, Becca Stevens, Cheryl Bentyne, Theo rhythm section, speak of both personal and societal release, Descansado: Songs for Films (ECM), a gorgeous
Bleckmann, Ann Hampton Callaway, Fay Claasen, loss—and offer a remedy. The surprisingly upbeat “All assemblage of soundtrack themes from classic films,
Holly Cole, Denise Donatelli, Michael Feinstein, My Heroes” finds redemption in the failings of our many with new lyrics by Winstone. Besides the title
Melody Gardot, Sara Gazarek, Diana Krall, Karin Krog, lauded artists. The slow blues “The Ghosts of Tomorrow” cut, Winstone contributes lyrics to the themes from
Amy London, Jane Monheit, Judy Niemack, John contains a hint of hope despite the litany of ills on Il Postino, Henry V and Taxi Driver. A masterful
Proulx, Diane Reeves, Janis Siegel, Bria Skonberg, review. And Peyroux, on her cool version of the title achievement.
Luciana Souza, Cassandra Wilson and Andrea Wolper. cut—a call to greater social awareness by the late More celebration: jazz child and NEA Jazz Master
Songbook composers aside, is there another popular Leonard Cohen—impresses with her restrained delivery. Sheila Jordan shares a birthday month with Mitchell.
songwriter so well represented in vocal jazz? Sometimes the softest voice reverberates the loudest. Jordan kicks off her 90th year with the Steve Kuhn Trio
Rhode Island-based Debra Mann, who credits Singer Cécile McLorin Salvant hasn’t recorded a at Blue Note (Nov. 26th). v
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